18i0.] 
Christ’s Demand of Attention and Under- 
standing, illustrated by a Sermon preached 
Nov. 26, 1809, to a Congregration of Pro- 
testant Dissenters at York. By William 
‘hurner. Is, 
Four Discourses on Subjects relating to 
the Amusement of the Stage. Preached at 
Cambridge, Sept. 25, and Oct. 2,1808. By 
James Plumptree, B.D. 8vo. 7s. 
Sermons Un various Subjects, selected and 
improved from Archbishop ‘Tiltotson’s Works. 
By the Rey. R. R. Balderstone, Curate of 
Wencle, Cheshire. 8vo. 8s. 
Fresh Cautions to the Public, or a Letter 
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to his Cautions to the Readers of Mr. Sime- 
on’s Sermon, entitled, Evangelical and Pha- 
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Rev. C. Simcon, (.A. 1s. 
/ 
Afonthly Retrospect of the Fine Arts. | 157 
Thoughts on the Sufterings of Christ. By 
the Author of the Refuge. 2s. 
TOPOGRAPHY. 
A Topographical Account of the Parish of 
Scampton, in the county of Lincoln. By the: 
Rev. Cayley Illingworth, A.M. F.R.S. 4to. 
4}. its. Gd. 
Blomfield’s Topographical History of the 
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Ol. 18s. large paper 231. 4s. 
Tunbridge Wells and its Neighbourhood 
iliustrated by 43 Etchings and Historical De- 
scriptions. fy Paul Amsinck, esq. imperial 
4to. 4. 14s. 6d. 
VOYAGES AND TRAVELS. 
Travels through the Empire of Morocco. 
By John Bufia, M.D. Svo. 73 
MONTHLY RETROSPECT or tue FINE ARTS. 
The Use of all New Prints, and Communication of Articles of Intelligence, Sc. ure 
requested under cover to the Care of the Publisher. 
——= eae 2 
The Fine Arts of the English School : illustrated 
by a series of highly-finished Engravings, 
from Paintings, Sculpture, and Architecture, 
by the most eminent English Artists; with 
Historical, Descriptive,” and Biograpbical 
Letter Press. Edited by “fohn Britton, F.S.2. 
London, priated for Longman, Hurst, Recs, 
and Orme, Paternoster-row; F. Taylor, 
High Holborn; and W. Bond, 87, Newman- 
street; by C. Whittingham, Mail, Chiswick. 
O illustrate the works of British 
_* B® artists, and to extend their fame 
through the medium of engravings, is 
a laudable and highly important object. 
it is now too late, and British art too 
firmly seated in the temple of fame, to 
need the ‘ twice-told tale,” of a refu- 
tation of calumnies against her, so de- 
cidedly false, as scarcely ever to have 
deserved serious attention. The British 
School of Arts, particularly of painting, 
is certainly now the first in existence; 
and its works claim the attention of the 
most eminent connoisseurs, and rival 
those of antiquity, Barry and Fuseli 
hold a most “distinguished rank in the 
- school of Michaelangiolo: and the series 
of pictures on human culture, in the great 
room at the Society of Arts, in the Adel- 
phi, of the former;- and the Miultonic 
gallery of the latter; are proofs of the 
assertion. ‘Lhe best colourists of the 
Venetian school, are boldly followed by 
Reynolds, Moppner, Shee, Beechey, 
Pluillips, Owen, &c. &c. and the vigo- 
rous imagination and purity of desiga of 
Iaffaelle, are more than aimed at by the 
Hlustrious prcsident of our Royal Aca- 
demy, in his Regulus, Hannibal, Cori. 
olanus, Paul in the island of Malta, and 
other numerous productions of his wea- 
riless pencil and» imagination. What 
modern schools can equal Flaxman, 
Bacon, Banks, and many other British 
sculptors? How many are the buildings 
that surpass what Whitehall Palace ought 
to have been; what’ Sir. Christopher 
Wren was) prevented from making St. 
». Paul’s; and what the Bank,SomersetPlace, 
the fagade of Covent Garden Theatre, and 
the innumerable fine palaces of our nobi- 
lity and gentry, scattered over the king- 
dom, are, compared with their crowds of 
inferiors? ‘The basilica of St. Peter, at 
Rome, may surpass St. Paul’s, in size, 
and Santa Maria da Fiore, in the beauti~ 
ful outline of its outer dome; but can the 
vaunted Pantheon at Paris, any way with 
out insult be compared to it? Where in 
ancient or modern art, is the peristyle 
surrounding the dome of St. Paul’s to be 
equalled? It would be a work of supere. 
rogation to say more, and an act of injus. 
tice to say less. 
The work now under examination is the 
first number of a new publication, the 
intention of which is amply detailed in the 
quoted title. Its contents are specimens 
of English portraiture, historical painte 
ing, sculpture; and architecture. 
1. A portrait of John Dunning, Lord 
Ashburton, engraved by William Bond, 
from a picture by Sir Joshua Reynolds, 
2. Thens bearing the armour to Achilles, 
engraved by the same artist, from a pice 
ture by Benjamin West, P.R.A. 3..A 
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